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Project<\/strong><\/p>\n\n\n\n The project New Exorcist<\/strong> consists of a two-channel film at its core, an image installation named Ji Star Petri Dish closely tied to artifacts(ca. 111 BCE\u20132nd century CE), and several sculptural works with chemicals.<\/p>\n\n\n\n New Exorcist<\/strong> unfolds through two interwoven trajectories, exploring windblown sand, photosensitive particles, materially oriented archaeological perspectives, and the translation of artifacts across different epistemic systems.<\/p>\n\n\n\n At the center of the project is Pazuzu \u2014 the wind demon from ancient Mesopotamian mythology, associated with plague and drought, yet also revered as a protective deity. Pazuzu appears as a museum artifact, an amulet, a cinematic character, and a toy-like figure (Labubu) circulating within popular culture.<\/p>\n<\/div>\n\n\n\n Click here to listen to the film score created in collaboration with the artist and musician.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n The film New Exorcist<\/strong> constructs a speculative narrative in which the image of \u201cPazuzu\u201d is no longer regarded as a historical object circulating through time, but as a contemporary climatic condition \u2014 an atmospheric process that traverses the arid regions of Asia, an unstable force, resistant to capture and containment.Human encounters with it point toward the instability involved in naming, marking, or detecting wind-sand environments and the historical structures entangled within them.<\/p>\n\n\n\n Continuing Zhang\u2019s long-term investigation into the displacement of cultural objects, the project examines how artifacts and their meanings are produced within constantly shifting contexts and media systems, while simultaneously imagining the failure of \u201cexorcism\u201d as an institutional operation.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n \u9879\u76ee\u4ecb\u7ecd<\/strong><\/p>\n\n\n\n “\u7b95\u98ce\uff0c\u6216\u4e8e\u5c18\u57c3<\/strong>“\u9879\u76ee\u7531\u4e00\u90e8\u53cc\u5c4f\u5f71\u50cf\u4f5c\u4e3a\u5176\u4e3b\u7ebf\uff0c\u8fde\u63a5\u7740\u4e00\u5ea7\u4e0e\u771f\u5b9e\u6587\u7269\u7d27\u5bc6\u5173\u7167\u7684\u56fe\u50cf\u88c5\u7f6e\u548c\u6570\u4ef6\u96d5\u5851\u3002<\/p>\n\n\n\n \u8fd9\u4e2a\u9879\u76ee\u4ece\u4e24\u4e2a\u76f8\u4e92\u4ea4\u7ec7\u7684\u8def\u5f84\u5c55\u5f00\u2014\u2014\u4ee5\u98ce\u6c99\u3001\u611f\u5149\u9897\u7c92\u3001\u548c\u7269\u8d28\u4e3a\u5bfc\u5411\u7684\u8003\u53e4\u8def\u5f84\u4ee5\u53ca\u6587\u7269\u5728\u4e0d\u540c\u89c6\u89c9\u5a92\u4ecb\u4e4b\u95f4\u7684\u8f6c\u8bd1\u7684\u8def\u5f84\u3002\u9879\u76ee\u56f4\u7ed5\u7684\u6838\u5fc3\u662f\u5e15\u7956\u7956\uff08Pazuzu\uff09\u2014\u2014\u6765\u81ea\u53e4\u4ee3\u7f8e\u7d22\u4e0d\u8fbe\u7c73\u4e9a\u795e\u8bdd\u7684\u98ce\u9b54\uff0c\u5b83\u5e26\u6765\u761f\u75ab\u548c\u5e72\u65f1\uff0c\u53c8\u88ab\u5c0a\u4e3a\u5b88\u62a4\u795e\u3002\u5b83\u662f\u535a\u7269\u9986\u7684\u6587\u7269\uff0c\u62a4\u8eab\u7b26\uff0c\u7535\u5f71\u89d2\u8272\uff0c\u662f\u6d41\u884c\u6587\u5316\u4e2d\u7684\u73a9\u5076\u5316\u8eab\u3002<\/p>\n<\/div>\n\n\n\n Composed of protective glazing, a custom wooden casework structure, and a climate-control system, this vitrine is conceived as an incubation chamber for particles, thermal energies, and historical residues. It brings into proximity two museum artefacts\u2014wooden administrative slips dating to approximately the second century CE, together with a series of experiments conducted by the artist within the climatic regime of \u201cPazuzu\u201d\u2014wooden administrative slips dating to approximately the second century CE, together with a series of experiments conducted by the artist within the climatic regime of \u201cPazuzu\u201d, allowing them to undergo a process of co-incubation.<\/p>\n\n\n\n The left section points toward heat, mythology, and the lingering thermal residue of history. The artist entered \u201cPazuzu\u201d and, from within its belly, unexpectedly came upon a roll of photographic film apparently scorched by its presence. Through a series of chemical etching and heat-treatment processes, the artist attempts to reconstruct the landscapes recorded prior to the film’s contamination by Pazuzu, tracing the unstable boundary between inscription, deterioration, and apparition.<\/p>\n\n\n\n The right section examines the tension between duration, ritual agency, and museological objectification. Under the climatic conditions associated with \u201cPazuzu,\u201d the artist interred a sheep skull in the Gobi Desert as an offering. Subjected to prolonged solar exposure, fungal mycelium colonised the bone surface. The materials presented here retrace the subsequent conservation trajectory of the object\u2014from excavation, degreasing, stabilisation, and digitisation to its eventual incorporation into an exhibitionary framework\u2014following its transformation from a buried object into a museological signifier.<\/p>\n<\/div>\n\n\n\n The English title of the work adopts a deliberately ironic tone of pop culture. \u201cThe Exorcist\u201d alludes to Pazuzu\u2019s contradictory dual role as both protective amulet and demon, while also referencing the film that transformed it into a figure of popular culture. And, the title projects a speculative question toward the future: has \u201c New exorcism\u201d \u2014 the rational or scientific attempt to unveil and regulate the spiritual world of artifacts through material research \u2014 itself mutated into a contemporary pathology?<\/span> <\/p>\n\n\n\n <\/p>\n\n\n\n Meanwhile, the Chinese title points more directly toward the cultural relics and historical imaginaries embedded within this climatic zone. In the northwestern regions of China\u2014lands once linked to East Asia, Central Asia, and the territories of present-day Iraq and Iran\u2014numerous ancient star charts have been unearthed. Within these records, the brightness of the Ji Star was read as a sign of approaching winds. As heaven and earth drift out of alignment and the stars slowly change their course, the Ji Star we observe today may itself one day dissolve into dust.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n
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\n\n\n\nJi Star Petri Dish<\/h3>\n\n\n\n
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